Seven years of a periodical and independent publication is perhaps both necessary and long enough a time to verify or put into practice a set of ideas, wishes and adventures. YSE closes a cycle, but doesn’t close (neither literally nor metaforically). Seguiremos, pero seremos otros.

An issue devoted to the mechanics of the modern accumulation and the frenzy to acquire; the paradigm of accumulation as a systemic principle of all activities, as a parameter of comparison. Artists, journalists and thinkers from many differente places have participated on this unusual edition of this unusual free publication.

An issue devoted to the mechanics of the modern accumulation and the frenzy to acquire.
The paradigm of accumulation as a systemic principle of all activities, as a parameter of comparison. Artists, journalists and thinkers from many differente places have participated on this unusual edition of this unusual free publication.

Neither entirely image nor strictly language, Anna Christina’s polymorphic work knowingly blends the different moods of a dotted narrative using poetry, collage, photography and video.
Reminiscent of mosaic, her work speaks of fragmentation and assemblage; in various experiments (The Dotmobile, The Visible Trash Society, magazines QZ, Banktown and Weird Charlotte) conducted under various pseudonyms (Little Shiva, Insani Kamil), her raw material is of a very autobiographical nature.
The first materials used are often souvenirs of her many voyages or her own body, staged and reconstructed through photography and montage.
These fragments of flesh, these sensations, undergo a second distancing: as images they escape from objectivity, as stories they avoid the straight line. Anna Christina’s art is written in disorientation and detours, evolving from the dotted line, the unspoken, the broken line which allows for the setting of personal fiction around holes in the story.
Autofiction, yes, but also visual poetry, sometimes animating the image with the look of film, other times deepening it through superimposition and collage until it resembles flat sculpture.
Often, but not always, letters and words appear, fragments of texts cut from magazines or the urban landscape. They give rhythm to the tale, speeding it up or slowing it down, weaving ephemeral links to the image, opening the discourse up to impermanence. Mobile and plural, words don’t escape the “dot dot dots”. — Anaël Desablin